Exhiition view
Exhiition view
Exhiition view
Exhiition view
Exhiition view
Patrick Michael Fitzgerald, A slice of the top, 2019 - 2021. Acrylic, oil paint and collage on linen, 48 x 40 cm
(detail) Patrick Michael Fitzgerald, A slice of the top, 2019 - 2021
Rachel Walters, Wooded, 2022. Plaster bandage, plumbers pipe, epoxy putty, acrylic, oil and canvas on stretcher, 43 (H) x 51 (W) x 5 (D) cm
(detail) Rachel Walters, Wooded, 2022
(detail) Rachel Walters, Wooded, 2022
Aidan Duffy, Bobo sauvage with salsa fringing, 2022. Jesmonite, epoxy, eyeshadow, metal, wood, ceramic, beading and fabric, 62 (H) x 76 (W) x 45 (D) cm
(detail) Aidan Duffy, Bobo sauvage with salsa fringing, 2022
(detail) Aidan Duffy, Bobo sauvage with salsa fringing, 2022
(detail) Aidan Duffy, Bobo sauvage with salsa fringing, 2022
(detail) Aidan Duffy, Bobo sauvage with salsa fringing, 2022
(detail) Aidan Duffy, Bobo sauvage with salsa fringing, 2022
Exhiition view
Andrew North, Powerstation, 2021. Oil on polypropylene, 50 x 60 cm
(detail) Andrew North, Powerstation, 2021
(detail) Andrew North, Powerstation, 2021
Exhiition view
Carole Ebtinger, Qui habite le corps, Qui habite le travail, Et le travail habite un espace qui n’héberge ni le corps ni l’esprit, Alors je me demande où je suis, 2022. Pigment, ink, dry pastels on paper, 119 x 87 cm
Carole Ebtinger, Qui habite le corps, Qui habite le travail, Et le travail habite un espace qui n’héberge ni le corps ni l’esprit, Alors je me demande où je suis, 2022. Pigment, ink, dry pastels on paper, 119 x 87 cm
Carole Ebtinger, Qui habite le corps, Qui habite le travail, Et le travail habite un espace qui n’héberge ni le corps ni l’esprit, Alors je me demande où je suis, 2022. Pigment, ink, dry pastels on paper, 119 x 87 cm
Andrew North, Border, 2021. Oil and gesso on board, 38 x 25 cm
(detail) Andrew North, Border, 2021
(detail) Andrew North, Border, 2021
Exhiition view
Patrick Michael Fitzgerald, Pulse - Passing, 2017 - 2022. Oil paint, acrylic and collage on linen and wood, 38 x 46 cm
(detail) Patrick Michael Fitzgerald, Pulse - Passing, 2017 - 2022
(detail) Patrick Michael Fitzgerald, Pulse - Passing, 2017 - 2022
Aidan Duffy, Sapling Bae, 2022. Jesmonite, epoxy, pigment, eyeshadow, acrylic, metal, bamboo and fabric, 70 (H) x 42 (W) x 20 (D) cm
(detail) Aidan Duffy, Sapling Bae, 2022
(detail) Aidan Duffy, Sapling Bae, 2022
(detail) Aidan Duffy, Sapling Bae, 2022
Exhiition view
Rachel Walters, Oh it will be great, Really great, 2022. Plaster bandage, plumbers pipe, acrylic, oil and canvas on stretcher, 36 (H) x 29 (W) x 16 (W) cm
(detail) Rachel Walters, Oh it will be great, Really great, 2022
(detail) Rachel Walters, Oh it will be great, Really great, 2022
Aidan Duffy, Slouched Husk, 2021. Jesmonite, ochre and mop yarn, 39 (H) x 60 (W) x 35 (D) cm
(detail) Aidan Duffy, Slouched Husk, 2021
(detail) Aidan Duffy, Slouched Husk, 2021
(detail) Aidan Duffy, Slouched Husk, 2021
(detail) Aidan Duffy, Slouched Husk, 2021
South Parade is pleased to present The Room, a group exhibition featuring work by Aidan Duffy, Carole Ebtinger, Patrick Michael Fitzgerald, Andrew North & Rachel Walters. The exhibition is also accompanied by an essay by Robert Carter (link below).
The Lloyd’s building (also known as the Inside-Out Building), located in the City of London, is synonymous with the global insurance industry. Designed by Richard Rogers,
The Room, as it is known to its users, has all its services - the heating system, plumbing, lifts, etc - on the exterior in order to maximise the interior space. As a result, it has a disturbing intestinal quality which led to the coining of the term, ‘bowellism’, to describe this style of architecture. The exhibition looks towards this building in both its departure and arrival point, drawing together work that calls to mind the insides or outsides, and what it means for them to be reversed or called into question.
The Room by by Robert Carter
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